Ton Koopman and New York Philharmonic

Ton Koopman came to the New York Philharmonic to conduct Handel's Messiah. His wife was also in the audience. Koopman apparently doesn't perform works after Mozart. This was my first live performance, and his conducting was as sharp as Brüggen's. His timing was quick, like a skilled chef frying tempura. He wore a smile and had sharp eyes. His tone was natural and varied. One cello and one bass played the continuo. The cello tutti in the aria was perfectly timed, as you'd expect from the Philharmonic's home ensemble. The two violins' tone also differed from the first. The violas had dynamic movement. The brilliant violins followed the brilliant trumpet fanfare. Handel's orchestration was superb. The final fugue was magnificent. The singers' voices and vocals were also fantastic. I was delighted to experience Koopman's vibrant music-making, now in his 80s.

12.11.2024

New York Philharmonic 12.11.2024

Handel’s Messiah

Ton Koopman, Conductor

Maya Kherani, Soprano

Maarten Engeltjes, Countertenor

Kieran White, Tenor

Klaus Mertens, Bass-Baritone

Musica Sacra

ニューヨークフィルにトン・コープマンがやってきてヘンデルのメサイアを指揮した。会場には奥さんの姿も見えた。コープマンはモーツアルト以降の作品を演奏しないそうだ。実際初めてライブを体験して、ブリュッヘンの様にシャープな指揮。熟練の職人が天ぷらを揚げる様に、まずタイミングが早い。ニコニコしていて目が鋭い。音色が自然で大変変化に富んでいた。アカンパニャートのコンティヌオがチェロとバス一本ずつ。後、アリアでチェロトゥッティ、よくあっていてさすがホームのフィル。2vlの音色も1と違う。ビオラのダイナミックな動き。見事なトランペットのファンファーレに続くバイオリンの輝く音色。ヘンデルの見事なオーケストレーション。最後のフーガも壮大。歌手たちの喉と歌声も見事。今80歳のコープマンの活き活きした音楽作りを体験できて幸せ。